Jimmy Page Japanese Interview with Rough translation

[TheStairwayRemainsTheSame]

If you listen carefully you can hear what he is saying anyway

https://www.youtube.com/watch?v=SrSDxkwZcAE&feature=youtu.be

The "Zep" optimized for digital

" You're feeling ( in production ) time is spent anyway . Listening to the tape , which is also several hundred , select a part of best what this , I because it was working to make a disk of the definitive edition " ( Jimmy Page san) .

This time , and has been digitally re- mastering it is an album of nine of Led Zeppelin .

It is a thing of the Zeppelin album has been continues to sell all over the world band after the dissolution , but the sound quality of the album in the past , Mr. Paige , that had frustrated the past few years .

10 years from this " five years , people who listen also changed a lot , and album of Led Zeppelin has remained sound 20 years ago that turned into CD in the first and yet ? Way to listen to music would have changed a lot . so I was thinking that there is a need to fit the current environment , review . in a variety of ways to enjoy a digital , I like you enjoy in the best sound quality " ( Paige 's ) .

Some of the songs of the past began to enjoy clear sound and noise is removed , such as the previously unreleased version of " Love of Lotta " is also included.

Mana daughter " digital native"

Paige says that you do not look inferior to the digital age , that he devotes his life .

How do they feel the era of now young people are touched easily to music of various ages through the net .

I'll I think it's very good " . Either Here is an example one . Daughter at the bottom of the I also play guitar a little , but I was a child to play the piano mainly . Starting with guitar also day , have it the 'm played on the guitar Beatles " here Comes the Sun " to say , I'll have . was doing playing brilliantly part of George Harrison it was unexpected . she learned on the Internet this 'Cause is to say . I'm a professional musician , but I was impressed Nantes there is a such a way " ( Paige 's ) .

Next I want you to see me in the stage

Where is the reason to have won new fans across generations still is Led Zeppelin .

I think the level of music purely "First of all . If you listen to the old album of Led Zeppelin , the drum part of John Bonham of " love " Lotta , listen now . There are many elements that come into the ear also , my amazing incredible . even listen to extract only that part , can respond to the appreciation enough . phrase of my guitar is put together there , song of . Robert the drum further reaction enters , John Paul · I think really , to be able to listen in a variety of ways to enjoy the . Led Zeppelin Jones tightens " .

In the past five years , it is that Mr. Paige was just working in the studio , but will fans anxious on stage in the future.

I'm a guitarist few years " here , it is possible to play the guitar in the stage but . It from was endless consuming . Studio work that could not be little . And now . Would love to or playing live , it is to or making music , I'm thinking about to do next at last . means that I me or I'll have seen in what way to you , a figure which I myself play the guitar . , rather than just record , I want you to also see the figure of me know I . it 's fun " ( Paige 's ) .

Guitarist of the legendary 70 -year-old .

While smiling occasionally to mild expression , I was talking about , "I always come to Japan if you supposed to stand on the stage if " .

[TheStairwayRemainsTheSame]

Actually that translation is pretty crappy now I've read through it. Original text for someone to translate:

１９６８年結成、全世界のアルバム売り上げは３億枚を超え、今も若い世代に人気を広げているイギリスのロックバンド、レッド・ツェッペリン。

そのリーダーでギタリスト、プロデューサーも務めるジミー・ペイジさんが、名曲の未発表バージョンも含むデジタル・リマスタリング版の完成に合わせて来日し、デジタルミュージックへの対応や、ファンにとって気になる今後のライブの構想などを語りました。

デジタルに最適化した“Ｚｅｐ”

「（制作には）とにかく時間がかかったという実感だね。数百本もあるテープを聴いて、これこそベストという部分を選んで、決定版のディスクを作る作業だったからね」（ジミー・ペイジさん）。

今回、デジタル・リマスタリングされたのはレッド・ツェッペリンの９枚のアルバムです。

ツェッペリンのアルバムはバンド解散後も世界中で売れ続けてきましたが、ペイジさんは、かつてのアルバムの音質に、ここ数年不満を感じていたということです。

「この５年から１０年で、聴く人もずいぶん変わったし、音楽を聴く方法もずいぶん変わっただろ？それなのにレッド・ツェッペリンのアルバムは、最初にＣＤ化した２０年前の音のままだった。だから現在の環境に合うように、見直す必要があると思っていたんだ。デジタルないろいろな楽しみ方で、最適な音質で楽しんでもらえるようにね」（ペイジさん）。

ノイズなどが除かれクリアーなサウンドが楽しめるようになったかつての曲の中には、「胸いっぱいの愛を」の未発表バージョンなども含まれています。

まな娘は「デジタルネイティブ」

デジタル時代に見劣りしないよう、心血を注いだというペイジさん。

若者がネットを通じてさまざまな年代の音楽に容易に触れられる今の時代をどう感じているのでしょうか。

「とてもいいことだと思うよ。１つ例を挙げようか。私の一番下の娘は少しギターも弾くけど、主にピアノを弾く子だったんだ。それがある日、またギターを始めたわ、と言ってビートルズの『ヒア・カムズ・ザ・サン』をギターで弾いたんだよ。ジョージ・ハリスンのパートを見事に弾きこなしたのは予想外だったね。彼女はこれをインターネットで学んだって言うのさ。僕はプロのミュージシャンだけど、そんな方法があるなんて感心したよ」（ペイジさん）。

次はステージの私を見てもらいたい

レッド・ツェッペリンが今も世代を超えた新しいファンを獲得している理由はどこにあるのか。

「まずは純粋に音楽のレベルだと思うね。レッド・ツェッペリンの古いアルバムを聴けば、耳に入ってくる要素がたくさんある。『胸いっぱいの愛を』のジョン・ボーナムのドラムパートは、今聴いても、信じられないくらいすごいよ。あのパートだけ抜き出して聴いても、十分鑑賞に堪えうる。そこに私のギターのフレーズが合わさり、さらにドラムが反応する。ロバートの歌が入り、ジョン・ポール・ジョーンズが引き締める。レッド・ツェッペリンは本当に、さまざまな楽しみ方で聴くことができると思う」。

この５年間は、スタジオでの仕事ばかりしていたというペイジさんですが、ファンが気になるのは今後ステージに立つ予定です。

「ここ数年、ステージでギターを弾くことはちょっとできなかった。スタジオ仕事にかかりきりだったからね。でも私はギタリストだ。ライブで演奏したり、曲を作ったりするのが大好きだ。そして今、ようやく次にすることを考えているんだ。つまり私自身がギターを弾く姿を、皆さんにどんな風に見てもらおうかってね。レコードだけじゃなくて、ぜひ私の姿も見てもらいたいね。楽しみだよ」（ペイジさん）。

伝説のギタリストも７０歳。

温和な表情に時折笑顔を浮かべながら、「もしステージに立つことになったら日本にも必ず来るよ」と話していました。

[scylla]

Thanks for posting!

It would be awesome if any Spanish speakers wanted to be similarly public-spirited and do the same with the El Pais one (Google Translate is as reliably hilarious as always...)

http://elpais.com/elpais/2014/05/13/eps/1399982090_975034.html

[truth and beauty]

Thank you Stairway ... a labour of love (I'm assuming it's your translation? ). Well done ... I can't say I 100 percent understand it, but perhaps that just adds to Mr Page's mystique !

[SummerOfMySmiles]

Thanks for posting!

It would be awesome if any Spanish speakers wanted to be similarly public-spirited and do the same with the El Pais one (Google Translate is as reliably hilarious as always...)

http://elpais.com/elpais/2014/05/13/eps/1399982090_975034.html

That's my cue! Working on it..............Fuck, my browser just died. Give me some time

[SummerOfMySmiles]

“I have no regrets about what we did in Led Zeppelin”

· Guitarist Jimmy Page stands out as the main driving force behind the groups legacy.

· A remastered box set with their first 3 records as well as unreleased material put the focus on the legend and excess of the rock band.

[PICTURE]

Page photographed by his daughter Scarlet for her 'Resonators' series,

raising funds for cancer in teenagers. / SCARLET PAGE

A legend with a ponytail. Precursor of the double neck guitar, sneaky, dark musician, keen on drugs and dark magick back in the day, marked by tragedy but responsible against the consequences of his artistic legacy, Jimmy Page is not just one of the greatest guitarists of all time – today he is a thorough and compromised artist, perfectionist and not really uncaring about what's going to be left of him and his people in history.

Those who prefer to believe rock is an art more about the works of fate than meticulous planification will find in Page a great champion in destroying that common thought. Now 70 years old, he admits that when he formed Led Zeppelin, the group who invented hard rock soaked in psychedelia and paved the way for heavy metal, he was determined. It wasn't improvisation, it was a well thought project started just after his first steps as the studio intern for world-class recording artists and his part as an replacement instrumentalist for The Yardbirds, where he left his mark on a band that also had had Clapton and Jeff Beck.

But his group had to lead the way beyond: to the land where sonic exploration and the gardens of the forbidden delights merge in a cult place. They connected with an unknown kind of freedom; opened up the senses and shut their doors, giving way to stories of all kind: from child abuse to infamous fights by their security guards and excess, the kind that of excess that lead their drummer John Bonham to death, drown in his own vomit after a drinking rampage, not hing, on the other hand, really surprising about him.

Today, Page, grandfather, ex-addict, a man linked to all sorts of creepy legends and a man who has put himself on the pedestal of success and quality reference, feels particularly responsible of an artistic legacy that he has just compiled, with unreleased live recordings and fresh remastering on the first 3 albums. He hopes it works and gives a new bump for his band to reach the rock and roll olympus.

In London, in a salon in a Kensington hotel near the Royal Albert Hall and a day after unveiling some of the new tracks, on which the band's choleric and overwhelming energy is patent, Page reviews and claims his place unashamed.

¿Have you placed yourself as the main responsible of Led Zeppelin's legacy? No sign of the others here..

I don't know where they are, I don't have any idea of what they are doing. But you gotta think I was the producer. Mainly because we didn't wanted stuff to end up in the wrong hands. However, there's some material that's finally been put to light and some of those versions have turned out to be frustrating.

¿Why?

It's not necessarily about my perfectionism, although I am a perfectionist. I am never satisfied, you can always get better. About some affairs, in my personal opinion, I believe they should have never seen the light, since we don't belong to anyone but ourselves.

In terms of heritage, it's a pretty sensible issue. Because, once a band call it quits, somebody needs to work on putting it where it belongs in music history. ¿How do you do that? ¿Are you aware of it?

Yes, I am very aware because there are several examples of important musicians of which we've already forgotten their names, and I am not naming any of them. Bands very big in the sixties, with a lot of fans, ignored by everyone. And I don't wanna get pompous on that one...

No, it's about seeing the relevance in the fact that they've fallen into oblivion because nobody managed their brand [after they broke up].

Yes, don't misunderstand me. But the fact is that we knew that our music would remain, we just knew it, we saw it that way. Because of that, we never confined ourselves to do things just as they were imposed. We didn't release any singles, we offered a whole piece of work, a concept, and we didn't look after public anxiety – off which others made good profit by delivering separate pieces out of a whole. That set us apart, for example. It was really hard to impose that own style, but we tried with so much passion... If we were so passionate regarding our talent, that means we felt very responsible of what we did to make it long-lasting and not screw it up. Because of that I believe we expanded the horizons of music at the time and everyone watched closely what we did at the time.

Did you perceive those things when you were a studio guitarist?

Of course, I learned a lot in that time.

¿Did you see what your weak points could be (in that sense and others) in other bands, to the point once you formed one, you already knew what you wanted to do or don't?

I consolidated a lot of ideas in my head. Mainly about how not to do things. From complex to basic. How to write music. I coulnd't read notation, but had to learn it.

So similar to Paco de Lucía, self-taught.

Well but he was a genius. It was harder for me. But I went on slowly being accepted in that world. I enjoyed my job, they wanted me to stay, wanted me to be more involved... And I had to keep learning day by day. All techniques and styles: acoustic, electric, classic... Learn, learn. But apart from that, I was reall into the process of recording. Imagining how the sounds that run around my head should be recorded to depict my ideas.

[[To be continued tomorrow! I need to get some sleep]]

[SummerOfMySmiles]

¿Did you keep the experience to employ it later in your own project?

I was learning on the run. A new world opened up in front of me. And, as I got in, I started absorbing ways of working, secrets that kept on adding to my DNA. Then later I started to play with The Yardbirds, they gave me an opportunity and then I could propose some ideas. The project came to an end, and by then I already knew exactly what I knew.

¿Already?

I had played in a lot of dirty underground clubs, plus the studio and radio experience where they did not just play songs, but big parts of several albums. I had both recording studio and live experience, I knew my path well.Not only because I exposed myself to be listened to, which is one of the main goals you seek when you're into this, but because I already knew what made a band good. In order to achieve something really important, the beginnings are the most important. Not looking straight after success or getting a number one on the lists, but forming a band that sounds good and deserves respect.

You mentioned The Yardbirds, a band where three of the greatest guitarists of all time – Eric Clapton, Jeff Beck and you had been members. What was the difference you wanted to make with Led Zeppelin?

In The Yardbirds we wanted to lead guitarists. Jeff did a phenomenal job, but I wanted to expand horizons to other string sounds and getting into more vanguardist terrain. I wanted to change the panorama, take a step forward from the existing material and ultimately developing more stuff we didn't play before because of the dual guitarists. I wanted to do quite a few of my ideas with them, but before we could do them, they disbanded. It was then when I felt prepared to offer a vision I felt the public were already demanding. Something fresh and renewed. I think we did it.

“We always knew our music would remain”

By then the four of you knew very clearly two fundamental concepts: what a band should be in the studio and what it should be live. ¿Do you thing Led Zeppelin made it in regards to both? ¿How did you do it?

There used to be, well, they have always been, bands that reproduce live what they play in the studio. We didn't want any of that. In our case, the four of us were already trained musicians that wanted to play together. We weren't following a superstar. Our band worked as a whole. From day one. First we practiced, then we played live and then we headed to the studio. Very focused but, live, very keen on changes, contrast, different versions. We never stopped working that way. So it was always exciting for us, we challenged ourselves and walked the razor's edge.

All of that experimentation and previous work, ¿did it come from your scientific vocation?

No, that didn't get to anything. It was a question I was asked once, it was a surprise, and I answered the first thing I thought. I was 13 or 14, I was very nervous, it was a TV studio. I didn't wanted to be interviewed and on a live show, no less.

Before you formed your band, you did run an esoteric library.

I did.

¿Why did you shut it down?

Because we started to travel a lot, we spent a lot of time out of the country. I remember I quit when Robert Plant broke his leg in Los Angeles. Around the time were recording Presence, I think. That library also had the kind of client that felt the divine right not to pay the books.

¿Really? ¿They robbed you?

More or less. Well, you know. People into that kind of stuff often don't have a penny.

Bad business.

Well... it got to a point where I couldn't look after it and I was always travelling, so I decided to shut it down, not even transfer it.

Now that you mentioned 'Presence', that album was very drug influenced.

We should first talk about the previous albums, but, beyond that, Presence was inspired by the concept of divine intervention.

With The Yardbirds I wanted to explore new string sounds

¿Mysticism?

Divine music.

¿Were you aware of a legend based on you about your dedication to dark forces?

Well, call it whatever you want. I, a 70 year old, don't care, I'm a survivor. It's not about any categories. Music speaks for itself and that's it, nothing to do with my personal circumstances, girlfriends I had, children, whatever. We're talking about how music appears first and foremost; if you want to know about all those other issues, listen to the music, it's all in there.

If I can find it..

Well, shit, I hope!

I imagine it all came from your personal experience.

Yeah, but it's a reflection, a declaration of what you are in life. You change, you experience tragedy, happiness, great moments, it's all there. It kind of shows more on who writes the lyrics, that turns constantly to the autobiographic; but as far as playing the guitar is concerned, I might feel very expressive, very lyrica. Yeah. I feel my art is coherent with what I am.

[[last part tomorrow! promise]]

[Darlas y]

Hey, nice to meet another spaniard here. About the interview... whole lotta work! They tried (in vain) to push some answers to the dark and excess side of LZ. Thanks for posting, hope I could contribute in a similar way.

[SummerOfMySmiles]

Hey, nice to meet another spaniard here. About the interview... whole lotta work! They tried (in vain) to push some answers to the dark and excess side of LZ. Thanks for posting, hope I could contribute in a similar way.

No problem at all, I am glad I could help. I'll post part 3/3 in a few minutes. Un abrazo!

[SummerOfMySmiles]

Do you think Led Zeppelin's 10 year life span have influenced you – for good or bad – later in your life?

Yes, although I know I've been able to live an existance beyond that. What is true, indeed, is that, regarding that experience, I owe a lot to that stage of my life, and because of that, the releases and all, I want to present something worthy that shows what we were. Now I am not one to talk well about record companies, but truth is, Warner have done it with so much style. It's been a really hard task and I hope it mainly shows the decency and compromise in working things well and not wasting our legacy. That's the reason I have been so involved, I have made sure everything's OK and assumed the lead because I lived it in depth. I was a fundamental part of its creation, I know it well – I have seen it grow. I remember everything, too. I know where we were when we recorded each song, how we felt.

Have you been surprised by something after reviewing all those years?

With the bond, the strong bond that kept us together. The search for quality whatever the circumstances. The fact it came out with so much conviction comes from that collective effort. Each one of us fully working on it. That gave birth to a collective opus, a very powerful one as far as intellectual conception is concerned. I can say I don't regret anything we did, I haven't got to the point of regret, artistically. In that case, the presentation of our legacy, I have delved into a lot of things with enormous passion. It's worth to listen to the material in these terms.

Artistic regret discarded, of course. What about other terms? The tales about violence, abuse, wild parties... Do you regret those?

That has nothing to do with music.

I believe it has. Your music shows it that way.

Do you think? I'll tell you something. Of all the stories I've been told people used to tell about us, the debauchery, the violence... I don't think anyone of the Led Zeppelin members would like to see themselves involved in half those situations, creating a soundtrack for those. ¿Do you understand?

Yes, of course. Do you all get along?

Of course.

Paco de Lucía was a self-taught genius, for me it was harder to learn”.

Okay, but there's a lot of bands that, having lost some members, have carried on.

Our creativity would've been affected. The instinct... It was a band predestined to exsit, of course. Clearly. No doutb. Like a divine prophecy. But if we had lost anyone of us, John Paul Jones, Robert, me... we would have not continued no matter what, we knew it. Getting someone to fill in would've limited us a lot. No, we didn't want any of that. However, when we got together again once, with John's son on drums, we did it with a lot of dignity. We could experience again the positive tension, the energy of our music.

[[ FIN ]] enjoy and sorry for all kinds of possible mistakes

[WLL4LZ]

Thanks for all your effort in providing this interview Summer. Good to hear Jimmy's perspective - and how he deals with an interviewer trying to go beyond the music. Fascinating stuff!

[scylla]

Do you think Led Zeppelin's 10 year life span have influenced you – for good or bad – later in your life?

Yes, although I know I've been able to live an existance beyond that. What is true, indeed, is that, regarding that experience, I owe a lot to that stage of my life, and because of that, the releases and all, I want to present something worthy that shows what we were. Now I am not one to talk well about record companies, but truth is, Warner have done it with so much style. It's been a really hard task and I hope it mainly shows the decency and compromise in working things well and not wasting our legacy. That's the reason I have been so involved, I have made sure everything's OK and assumed the lead because I lived it in depth. I was a fundamental part of its creation, I know it well – I have seen it grow. I remember everything, too. I know where we were when we recorded each song, how we felt.

Have you been surprised by something after reviewing all those years?

With the bond, the strong bond that kept us together. The search for quality whatever the circumstances. The fact it came out with so much conviction comes from that collective effort. Each one of us fully working on it. That gave birth to a collective opus, a very powerful one as far as intellectual conception is concerned. I can say I don't regret anything we did, I haven't got to the point of regret, artistically. In that case, the presentation of our legacy, I have delved into a lot of things with enormous passion. It's worth to listen to the material in these terms.

Artistic regret discarded, of course. What about other terms? The tales about violence, abuse, wild parties... Do you regret those?

That has nothing to do with music.

I believe it has. Your music shows it that way.

Do you think? I'll tell you something. Of all the stories I've been told people used to tell about us, the debauchery, the violence... I don't think anyone of the Led Zeppelin members would like to see themselves involved in half those situations, creating a soundtrack for those. ¿Do you understand?

Yes, of course. Do you all get along?

Of course.

Paco de Lucía was a self-taught genius, for me it was harder to learn”.

Okay, but there's a lot of bands that, having lost some members, have carried on.

Our creativity would've been affected. The instinct... It was a band predestined to exsit, of course. Clearly. No doutb. Like a divine prophecy. But if we had lost anyone of us, John Paul Jones, Robert, me... we would have not continued no matter what, we knew it. Getting someone to fill in would've limited us a lot. No, we didn't want any of that. However, when we got together again once, with John's son on drums, we did it with a lot of dignity. We could experience again the positive tension, the energy of our music.

[[ FIN ]] enjoy and sorry for all kinds of possible mistakes

This is a great interview - thanks so much for translating!

[SummerOfMySmiles]

Pleasure, everyone!